An eddy in the crowd ripples out from the door, a sense of waters being parted. Flashbulbs ignite. Finally you see the cause of the excitement: a face that brings to mind a line of cosmetics, a Cola and recent shocking revelations in supermarket tabloids. It's the famous actress/model on a busman's holiday. She's wearing faded jeans, a sweatshirt and a yachting cap, as if to say: "I can look terrific with both hands tied behind my back." You know for a fact, or at least you have it on good authority from Amanda, who once did location work with her, that she is a martyr to the search for the perfect nose. She has had no less than seven reconstructive operations and she's still not happy. She refuses to be photographed in profile. You can think of better ways to traumatize the nasal cartilage. From this distance, the nose looks unexceptional and the rest strikes you as bland. You judge her to be about five-five, not tall enough for runway work. She's got too much chest for couture.
Amanda is, or was, a perfect eight: hips thirty-four, waist twenty-three, bust thirty-three. You also know her shoe, glove and ring sizes. Clara would be proud. You have all the numbers. Factoring in the cheekbones, which a photographer once described as "neo-classical," they add up to a hundred and fifty dollars an hour.
People are taking their seats. A woman in a pink gown comes out onto the runway, apparently the mistress of ceremonies. She smiles and nods, mouthing little greetings, and walks out to the lectern at the runway's edge. Your hands are beginning to shake and you decide on a booster shot. You buck the flow of the crowd and race for the bar. People are looking at you and you are afraid they know four every thought. You brace yourself with the fact that you looked at Amanda every day for almost three years and you don't have the ghost of a clue what was going on «her mind. She showed all the vital signs and made all the right noises. She said she loved you.
The lights are dimmed, and the woman in pink begins to explain the reason we are here today. She says something about a Revolution in Taste. This fashion designer has the tame name as a famous Renaissance painter, and she thinks is not too much to compare the impact of his work in couture with that of the Old Master in painting. Meanwhile, the bartender tells you that the bar is closed until after the show, but he makes an exception for you and your ten-dollar bill. He is about your age. You want to tell him about Amanda. Instead you say, "Lots of jewelry in this crowd. I don't see much in the way of security."
He looks at you. "They're around," he says with conviction. You tell yourself, nice move. You thought that your phrasing cleverly disguised your real interest in the security question, but now he has you pegged for a jewel chief, which in his eyes may be even worse than a sexually abandoned husband. If only your hands would stop shaking. He is looking you over; it is obvious he doesn't like what he sees. He is going to call the Pinkertons, or the giant Nubians, at any minute. They will beat the soles of your feet until you admit everything. Amanda will watch your inglorious exit and think, So this is what he has come to.
"My girlfriend was just a little worried about her necklace," you say to the bartender. "Maybe I should bring her a drink, too, while I'm up."
He doles a few fingers into another glass. "Skip the ice," you say. His look is frosty. "Her husband wouldn't be too thrilled if she came home without her necklace." You wink. "He thinks she's playing bridge." Why are you saying these things?
You look back over your shoulder as you head for your seat. The bartender is signaling someone. You slide past all the knees, apologizing and spilling. The pink lady is talking about Bold New Looks. The first model comes out as you cake your seat. She is black and tall as a Zulu. The pink lady describes her outfit, emphasizing the ruffles and their importance to the new elegance.
Amanda is the third model out. At least you think it's Amanda. With the makeup and the pulled-back hair, you can't be absolutely certain. The walk is stylized, but you think you recognize Amanda's signature sway and rhythm. She takes her spin on the runway and then she's gone. You didn't have time to think. You can't decide if it was really her. You remember your friends used to say they had seen her in the Times magazine or somewhere when it was actually another model. Sometimes they brought you pictures they had clipped and you would think it was funny- the pictures looked nothing like Amanda. But since she left, you have had the same trouble identifying her face. You have gone back through her portfolio and tried to make a composite that matches the image, in your memory. The photos all look slightly different. Her agent said she could do any look-temptress, businesswoman, girl next door. A designer who used her all the time said she had plastic features. You begin to suspect that all of your firm beliefs about Amanda were no more substantial than the images she bodied forth under the klieg lights. You saw what she was selling then; you saw what you wanted to see.
You clutch the edge of your seat and wait for her next appearance. You have your plan worked out, more or less. You will confront her when she comes out again. If they try to stop you, you will tell them (he briefcase is full of high explosives, that you will blow the place into orbit if anybody comes near you. The Zulu comes out again in a new outfit. Then another model. The next one should be Amanda, but it's a brunette. You panic. She has seen you. She won't come out again. But the next model is Amanda, or the woman you think is Amanda. As she advances down the runway, you stand up. The pink lady is enthusing about pleats. You want to shout Amanda's name, but your voice is gone. People are beginning to look at you. A small clicking sound is coming from your throat. Finally you hear your voice: "A-man-da!"
She keeps walking. She walks to the end of the runway and pirouettes in a way that flares the skirt of her dress. She walks down one arm of the T, turns and walks down the other. When she is almost directly in front of you, she turns and looks at you. It is a look that could carry either hatred or indifference. You want to ask for an explanation. She turns away and retraces her steps down the runway as if nothing had happened. Whoever she is, she is a professional. Whoever she is, you don't know her.
The pink lady is asking you to please sit down. People are turning in their seats to look at you. They are saying Sit down! and What does he want? A photographer up front snaps your picture just in case you turn out to be news.
You imagine the Post's caption: SEXUALLY ABANDONED HUBBY GOES BERSERK. Two large men in suits are hurrying down the aisles. The wires hanging from their ears probably connect earplugs with small transmitter-receivers. But it is more interesting to consider the possibility that the men could be robots. How do you know that the terrified-looking woman sitting next to you is actually feeling what you would call terror? If you were to step on her foot she would cry out, but how do you know she would feel what you call pain? You could observe one of these robots for years and never know. You could even be married to one.
The robot men are coming down the row of seats to get you, one from either side. You applaud this clever and efficient maneuver. Someone has turned up the music on the sound system, perhaps to cover the noise of your apprehension. You do not resist as one of the men with a wire hanging out of his ear takes your arm and says "Let's go." You follow him down the row of seats and apologize to the people whose knees you are bumping. Once he gets you into the main aisle, he grips your arm uncompromisingly.
The two robots escort you out through the lobby. You are temporarily engulfed by a band of Japanese tourists following a guide with a pink flag and ideographic lapel badge. Your escorts are talking into microphones attached to their sleeves. "Agitator apprehended. Proceeding to lobby." Before shoving you out the door, one of the men leans down and says, "We don't want to see you here again."